FOR WADSWORTH

As a child of the 1960s and 1970s I watched some cool television fare; although this television does not fare well today. (I could not resist.) Good Times, Night Gallery, The Six Million Dollar Man, Gilligan's Island, The Rookies, Emergency, Lost in Space, Star Trek, and Space: 1999 were some of the shows which I would sit down for. (I cannot get over how well I've turned out considering I was constantly subjected to the acid rain intrinsic with some of the above.)

As I got older I discovered All in the Family (brilliant show), The Outer Limits, and a few others. In my teenage years I sat down long enough to catch some newly released, and superior, series such as The White Shadow and Lou Grant.

(Sorry, no Battlestar Galactica. I watched some episodes when it ran but knew it wasn't clicking. Although, it is still better than the narcissistic and plethoric "re-imagining".)

Easily one of the worst of the above was Space: 1999. It premiered in September of 1975; a time where I was easily old enough to know what worked and what did not -- over and above the subjective question. This British import was, in its first season (the second season was different, and I will get to in a moment), turgid, overly metaphysical and consistently so, often boring, and after many episodes, absolutely inconsequential. In a nutshell, perfect stuff to make you blow away all the time you think you have when you are of such a young age as I was.

Space: 1999 was known at the time for its pretty and (at times) elaborate visual effects work. The first season was scored by series creator Gerry Anderson's frequent collaborator, Barry Gray. This composer was consistently producing quality theme tunes and background music for Anderson's children's programs such as Supercar, Thunderbirds, and Captain Scarlet and the Mysterons.

Those kiddie shows -- which many adults watched too -- were frequently fun even when serious, with some episodes played as comedies. This ingredient allowed composer Gray to write some disparate music: Dark, upbeat, romantic, and contemporary. When some episodes bypassed having an original score, no matter. There was always something to track in to hit the notes for whatever installment. (I should mention that I think his Thunderbirds theme is one of the best television signature pieces of all time. Barry Gray was a compositional talent.)

With Space: 1999, Gray was commissioned to score just five episodes. These more or less required the same sort of timbre or colour in the music, banking a fairly narrow reservoir of dramatic options. The episodes in question required gloomy music for the most part. This fact hurt the show... seriously (in my humble opinion).

Darkness pervaded the prairie.

It is pretty clear that what happened was no fault of Barry Gray's. He was, after all, a hired composer, as are all film composers. They write music to match an image on a screen. They are told what episodes to write music for; it is a commissioned capacity.

After the first season of Space: 1999 wrapped up, just about everybody who cared came up with a litany of what was wrong with the series. I won't go into a historical analysis of what went on other than to say that veteran American television producer Fred Freiberger (yes, that Freiberger of 3rd season Star Trek fame) was hired by the Brits to help make the show more friendly to the all important U.S. audience.

Command Centre was Command Center. (We Canadians spell in the British style, so we would also take into account the same export considerations.)

Changes were made, and some for the better (I am one of those who thinks the second season is a slight improvement on the 1st), one perhaps was most severe: The music.

When I sat down in front of the CBC for the much anticipated new stab-at-the-cat season of Space in September of 1976, I was taken aback by the total change in the opening titles department; mainly, the musical theme. What a difference. I immediately liked it. It was more rock and roll and jazz than symphonic... but it worked.

And in an episode to episode respect, it really did work. Derek Wadsworth, this creator of the new sound, provided what was really needed more than anything else for this miserable thing... Fun music.

(Wadsworth was for all intents and purposes, a rock and roller and jazz guy. He arranged music for the Rolling Stones, amongst others.)

The show's initiating concept was shite, which was the truth admitted by some all along; by those brave and realistic souls. (The moon blasting out of Earth's orbit? That is the concept behind the show? Ridiculous.)

Rock/Pop/Jazz styled music worked in outer space. Not that the mentioned types are needed to mark substandard television, it's just that they seemed to fit Space: 1999's second season so aptly.

Derek Wadsworth and Space: 1999 was a happy accident. He did not make the show a good one, but did get rid of those overcast skies.

Space just needed a little rock and roll and jazz.